Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Djibouti and from Hong Kong.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1960 to 1973.
I'm losing my edge.
To all the kids in Bremen and Tokyo.
I'm losing my edge to the art-school Shanghai kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1971 at the first Selda practice in a loft in Istanbul.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Erykah Badu to the punk kids.
I played it at the Roxy.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by New Age Steppers. All the underground hits.
All Terry Callier tracks. I heard you have a vinyl of every The Smiths record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Skriet record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Crispy Ambulance,
John Cale,
E-Dancer,
Prince Buster,
The Victims,
Brothers Johnson,
Livin' Joy,
Babytalk,
China Crisis,
Dual Sessions,
JFA,
The Fuzztones,
The Associates,
The Names,
Sonny Sharrock,
Spandau Ballet,
Faraquet,
Minny Pops,
Section 25,
K-Klass,
The Monochrome Set,
Kurtis Blow,
Yaz,
Thompson Twins,
Laurel Aitken,
Cheater Slicks,
Cybotron,
Unrelated Segments,
Hot Snakes,
Scratch Acid,
Joe Finger,
Quando Quango,
Grauzone,
Sad Lovers and Giants,
Inner City,
Dave Gahan,
Alphaville,
Soft Machine,
The Red Krayola,
Black Bananas,
Average White Band,
Hasil Adkins,
Royal Trux,
Bobby Womack,
The Index,
Fatback Band,
PIL,
Public Image Ltd.,
Kayak,
Tomorrow,
DeepChord presents Echospace,
Lou Christie,
Kings Of Tomorrow,
Loose Ends,
Fifty Foot Hose,
Saccharine Trust,
Joey Negro,
The Fugs,
Louis and Bebe Barron,
Pierre Henry,
Leonard Cohen,
The Residents,
The Trojans, The Trojans, The Trojans, The Trojans.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.